The Fruitmarket Gallery, 45 Market St, Edinburgh EH1 1DF
Jac Leirner: Add It Up
Leirner’s works frequently organise and repurpose slight ephemera into a surprising coalescence. Whilst the career-wide spectrum of activity on display successfully demonstrates the consistent concerns within her oeuvre, the volume of works within this cross-section seems at odds with their essential simplicity, which at times is perhaps diluted in the two satiated galleries. Review by Nathan Anthony
Talbot Rice Gallery, University of Edinburgh, South Bridge, Edinburgh EH8 9YL
Stephen Sutcliffe: Sex Symbols in Sandwich Signs
Stephen Sutcliffe’s exhibition at Talbot Rice Gallery opens a moving image season showcasing recent work by three highly-regarded practitioners noted for the referential density of their work, through an ever-closing margin between documentary and fiction and manifested through exuberant styles. Review by Alex Hetherington
Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London, SE1 0LN
Jerwood Drawing Prize
This wide scope has been a cornerstone of the project since it was founded in 1994. The longest running and largest annual open exhibition for drawing in the UK, it has developed a reputation for celebrating the considerable diversity that exists within contemporary drawing practice. As the 2017 iteration shows, it is also a platform that highlights the value of drawing in both an artistic practice and within communities. Review by Kaitlyn Kane
The Koppel Project Hive, 26 Holborn Viaduct, London EC1A 2AT
The Hive Mind
‘The Hive Mind’ is a group exhibition consisting of sculpture, painting, video and print work by new and established artists, that probes the question of connectivity in an increasingly dysfunctional and meaningless reality. Review by Evie Ward
Thomas Dane Gallery 3 Duke Street St James's London SW1Y 6BN
Naming Rights
‘Naming Rights’ is a unique exhibition that discloses the arcane mechanisms of an artist run project space, converting the gallery into a place for artistic research and experimentation. The result is a distinctive presentation of works by international artists. Review by Fiorella Lanni
Yorkshire Sculpture Park, West Bretton, Wakefield WF4 4JX
Occasional Geometries: Rana Begum Curates the Arts Council Collection
Asked to curate a show from the collection by Yorkshire Sculpture Park as part of the National Partner scheme, Rana Begum has selected works for display that she says ‘have a soul’, an audaciously subjective criteria with which to curate an exhibition. Review by Jessie Bond
Centro de Cultura Contemporânea de Castelo Branco, Campo Mártires da Pátria, S/N (Devesa) 097, 6000 Castelo Branco, Portugal
Cristina Rodrigues
Cristina Rodrigues’ retrospective at Centro de Cultura Contemporânea in Castelo Branco sits well in the historic Portuguese town that boasts of a rich and varied textile heritage. While reviving the declining age-old tradition, Rodrigues brings into the mix a cross-cultural confluence that bring to the fore diverse contemporary concerns. Review by Ambika Rajgopal
White Cube Bermondsey, 144 – 152 Bermondsey Street, London SE1 3TQ
Dreamers Awake
The bodies without eyes, without hands, fragmented and uncanny, as portrayed by the multiple generations of female artists presented in ‘Dreamers Awake’ hijack Surrealist tropes and techniques, and both reproduce and resist the voyeuristic gaze. Review by Anya Smirnova
The Hepworth Wakefield, Gallery Walk, Wakefield, West Yorkshire WF1 5AW
Howard Hodgkin: Painting India
In his paintings of India – great, gestural strokes of colour – Howard Hodgkin sought to show the fleeting moments and conversations that form an impression of a place. Review by Phoebe Cripps
Whitechapel Gallery, 77-82 Whitechapel High St, London E1 7QX
Benedict Drew: The Trickle-Down Syndrome
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‘The Trickle-Down Syndrome’ is a large-scale installation, which consists of five interconnected yet individual rooms, inspired both by 1930s backdrops of Hollywood director Busby Berkeley and the Surrealist works of Max Ernst. Review by Fiorella Lanni
Bermondsey Square, London
Lucy Tomlins: Pylon and Pier
In between the glass-fronted perimeters of Bermondsey Square, on the tiled ground, stands an empty plinth. This robust hexagon, coated a light beige to match the innocuous colour scheme of the commercial properties, could well be a part of the developer’s vision. It is sympathetic to the clusters of metal octadecahedron inevitably installed to add interest and dynamism to an otherwise anaesthetised square. Cleo Roberts reviews.
